Much unsatisfactory discussion has arisen upon the title "Divina Commedia," which Dante gave to his poem; it being presumed that he had never seen a regular drama either in letter or exhibition, as the Greek and Latin authors of that class were scarcely known in Italy till after his time. The religious spectacles, however, common in the darkest of the middle ages, consisting not of pantomime only, but of dialogue and song, may have suggested to him the designation as well as the subject of his strange adventure. Be this as it may, the character of the work is dramatic throughout, consisting of a series of scenes, which conduct to one catastrophe; for however miscellaneous or insulated they may seem in respect to _each other_,--in respect to _the author_ (who is his own hero, and for whose warning, instruction, and final recovery from an evil course of life, the whole are collocated,) they all bear directly upon _him_, and accomplish by just gradations the purpose for which they were intended. Dante is a changed man when he emerges, from the infernal regions in the centre of the globe, upon the shore of the island of Purgatory at the Antipodes; and is further so refined by his ascent up that perilous mount, that when he reaches the terrestrial paradise at the top, he is prepared for translation from thence through the nine spheres of the celestial universe. Many of the interviews between the visiters of the invisible worlds which they explore, and the inhabitants of these, are scenes which involve all the peculiarities of stage-exhibitions,--dialogue, action, passion,--secrecy, surprise, interruption. Examples may be named. The meeting and conversations with Sordello, in the sixth and seventh cantos of the "Purgatorio," in which there are two instances of unexpected discoveries which bring out the whole beauty and grandeur of that mysterious personage's character; as a patriot, when at the mere sound of the word "Mantua" he embraces Virgil with transport, not yet knowing, nor even enquiring, any thing further about him, except that he is his countryman; and afterwards as a poet, when, Virgil disclosing his name, Sordello is overpowered with delightful astonishment, like one who suddenly beholds something wonderful before him, and, scarcely believing his own eyes for joy, exclaims, in a breath, "It is! it is not!" (_Ell' è, non è._) The parties are thus introduced to each other. Dante and Virgil are considering which road they shall take, when the latter observes:--